Darbuka Rhythms

Malfuf

Key Facts:

Malfuf in Arabic means wrapped, because more than one Malfuf is needed to make the rhythm

When played quickly, the Malfuf 1 sounds great without much ornamentation

If you are playing Malfuf and feel it is too slow, switch into a fast rhythm like Maqsum 

Malfuf is a 2/4 rhythm

Khaliji

Key Facts:

Also known as the Sa’audi

Khaliji comes from the Arabian Gulf

Playing too much Khaliji can make a rhythm too bassy, keep it in check by alternating with Malfuf

Khaliji is a 2/4 rhythm

Iraqi

Key Facts:

Sometimes known as the “Indian Malfuf”

Whether this is an Indian or Iraqi rhythm, no one is too sure

Iraqi 3 with it’s double Doums sounds great on a Bass Doholla

Iraqi is a 2/4 rhythm

Ayub

Key Facts:

Also known as the Zaar

The Ayub rhythm is associated to the whirling dervishes of the Ayubid Dynasty; it’s thumping bass provides a trance-like effect for dervishes to whirl to

Ayub is a 2/4 rhythm

Karachi

Key Facts:

An inversed version of the Ayub

Commonly agreed that Karachi does not refer to the city in Pakistan, and it’s true origins are unknown

Can be played conjunctively with other rhythms such as the Malfuf or the Cifte Telli

Modulates well with Malfuf, and with Maqsum if 2 Karachi measures are used

Does not have urgency of Malfuf or Ayub, and feels lazier. Can be played more slowly. 

Falahi

Key Facts:

Egyptian

Used for Hip lifts and shimmy walks in Raqs Sharqi

Can be seen as an ornamented version of the Ayub rhythm

Follows Maqsum at twice speed

Falahi comes from “Falaheen”, which means farmers. The Falahi is hence known as the farmers rhythm

The Falahi shouldn’t be played for too long, else it may “clutter” the music

Falahi is a 2/4 rhythm

Maqsum

Key Facts:

The Maqsum is the king of all rhythms, and countless oriental songs are played to the Maqsum

Inspires lively stepping in Raqs Sharqi, used a lot in intros. 

Fast pace, good entrance rhythm, and probably one of the most popular rhtmhs around. 

At very fast tempo, it might be called Falahi

The first part of the Maqsum is DT, which is inversed in the second part (TD)

Maqsum means divided, because it’s split into two halves

In Turkish it’s known as Duyak

Baladi

Key Facts

Egyptian

Also known as the Masmoudi Saghir

Baladi means ‘of the country’, and is comparable to English ‘folk’ musi

Baladi came about when farmers moved to the city and started dancing in small spaces

Baladi is a 4/4 rhythm

Earthy rhythm used for steps and hip drops in Raqs Sharqi

Non-English speakers traditionally call all rhythms in the Maqsum family Baladi

Baladi implies gypsy-ness, something not urban.

Modulates well with Maqsum as slightly heaver than Maqsum

Sa’idi

Key Facts

Sa’idi comes from the regional of Sa’id; the northern region of Egypt

When millions of people from Northern Egypt migrated to Cairo and nearby regions for work, the Sa’idi increased massively in popularity 

Very popular in Sa’idi music genre

First Doum is regularly comitted

Doum Doum used for dances with forward-backward motion

Can be referred to Ghawazee as was popular amongst egptian Ghawazi

Heavy Sa’idi

Key Facts

The Heavy Sa’idi is a derivative form of the Sa’idi

Can be referred to as Super Sa’idi

It is often played using a Bass Doholla in the background with a solo Darbuka playing over it

Heavy Sa’idi is a 4/4 rhythm

Dabke

Key Facts:

Also known as Nawari

Lebanese rhythm

Used in line dances

Kata Kofta dances

Wahdi

Key Facts:

Egyptian

Good for solos

Some say wahda instead of Wahdi

Means one

Wahdi has one, cifte telli has two Doums

Main iqa for Tarab

Lots of space to ornament

Although it shares characteristics with Malfuf, it has a different feel due to its accents and subtleties.

Modulates well with Maqsum

Zaffa

Key Facts:

Egyptian

Traditional beat for wedding procession march

Zaffa means wedding procession in which many drummers accompany the groom ro pick up the bride in a grand, loud procession. 

Usually played by many people with as many different drums as possible

Bambi

Key Facts:

Egyptian folk rhythm from the word bambi in the Egyptian dialect, meaning pink

Often led with the 7^th beat, especially in Raqs Sharqi, to emphasise the DDD, either while maintain the current structure or by shifting the whole structure 2 beats back. 

The DDD can be swapped out with a D-D or DTD. 

Can be modulated with Cifte Telli if Cifte Telli is being played in it’s fast mode

Cifte Telli

Key Facts:

Pronounced Shaftatelli in Arabic

Pronounced Tsiftetelli in Greek

Not used often in composition, used more in vocal and instrumental improvisations

Turkish and Greek

Fast (light), slow (heavy)

Is the Greek word for belly dance

Assimilated by greeks living in tkruey

Arabs called it Wahda Kabira, Iraqis call it Dar e Noss and Lebanese call it Wahad e Noss

Egyptians play Cifte Telli differently to turks

Masmoudi Kabir

Key Facts:

Egyptian rhythm more common in Egypt than Turkey

Used as slow alternative to Cifte Telli, formal and classic feel. 

Used in instrumental compositions where it alternates with Maqsum in an introduction

Popular in introductions and in Dawr vocal form

Many ways of playing rhythm, including 3 Doums at the beginning (third doum on third beat)

Sama’i Thaqeel

Key Facts:

Can be shortened to just Sama’i, “Thaqeel” means heavy

Can be called Aqasaq Sama’i

Has Turkish origins, and is a popular Muwashshah Iqa’

Often confused with the Cifte Telli because of the middle Doum-Doum, however it is quite a different rhyhm with a different feel

Quite an open rhythm with lot’s of long spaces for ornamentation

If used with a solo, we just play Doum on first and eight beat to allow singer/instrumentalist to solo